At the time, we pooled our thoughts on what we would ask him. I don't think many of us expected to get a real reply from him, but the questions were worded in a way that would increase the odds of that possibility: They weren't offensive, demanding or critical of him. His reply was gracious, and as he said, a kind of thank-you for the international fan support for his series. Of course, over the years I've thought of some things I would have liked to add to that list, and wished I had tossed out some of the other questions (how old is Guts, and the Hawk/Falcon thing), But it was tough to come up with a set of questions that hadn't been asked before (that we know of), and could provide revealing answers.

Now that some time has passed, in keeping with the atmosphere of the last set of questions, what would you ask Miura today?

Good question. I myself don't have a new one but more a follow up question to one of his answers.

In his answer to question 9 : "Itís because I wanted Berserk's world to be revealed just that far, not any more than that. The appearance of god in the manga conclusively determines its range. I thought that might limit the freedom of the story development."

I would be curious to know in what way or how it would have limit the freedom of the story development. I'd like to hear his take on that.

What was the hardest Picture to draw in your Journey while drawing Berserk ?

I like that one. On a creative side too I've always wondered how much time he'd spent on the drawing vs the inking? or are the assistant inking the pages? or his he just doing them straight with ink and no pencils?

I like that one. On a creative side too I've always wondered how much time he'd spent on the drawing vs the inking? or are the assistant inking the pages? or his he just doing them straight with ink and no pencils?

The inking is mostly done by the mangaka himselfThe Assistants are mostly drawing the background while the mangaka is drawing all characters etc.

I like that one. On a creative side too I've always wondered how much time he'd spent on the drawing vs the inking? or are the assistant inking the pages? or his he just doing them straight with ink and no pencils?

For example there are some videos of the famous Mangaka Tekhiko Inoue while drawing Vegabond

The inking is mostly done by the mangaka himselfThe Assistants are mostly drawing the background while the mangaka is drawing all characters etc.

Thanks for that info I really appreciate it. But what I was more wondering and sorry I didn't precise it before, is that Miura said (I think, correct me if I'm wrong) that he did one page/day. So if that's the case I was wondering how much he spent time with the pencil / inking if it's how he works. I am wondering cause I draw a lot too and I am just curious in his drawing process.

Thanks for that info I really appreciate it. But what I was more wondering and sorry I didn't precise it before, is that Miura said (I think, correct me if I'm wrong) that he did one page/day. So if that's the case I was wondering how much he spent time with the pencil / inking if it's how he works. I am wondering cause I draw a lot too and I am just curious in his drawing process.

oh now i understand what you meani once read that he is dong 6 pages with the pencilthe inking process mostly depends on the page

In his answer to question 9 : "Itís because I wanted Berserk's world to be revealed just that far, not any more than that. The appearance of god in the manga conclusively determines its range. I thought that might limit the freedom of the story development."

I would be curious to know in what way or how it would have limit the freedom of the story development. I'd like to hear his take on that.

We don't need Miura to answer that. By having one of your main characters have a Q&A with the god of the Berserk world, it sets limitations on that world. There's a defined order to things as a result of that conversation that Miura doesn't necessarily have to obey, now that it's non-canon.

We don't need Miura to answer that. By having one of your main characters have a Q&A with the god of the Berserk world, it sets limitations on that world. There's a defined order to things as a result of that conversation that Miura doesn't necessarily have to obey, now that it's non-canon.

Ah euh well thank you. But I still get a feeling he could still do what he want with this info no? I don't remember exactly what the q&a was exactly (and that's alright since it's non-canon and I was just curious.) but I just don't see what the limitation it could have done. Anyway I wanted an answer and I got one and I get what you mean so thanks again.

Another question, I know Miura based some of the old Falcon from his friend. Does he still do that for new characters? How hard is it to come with a character design if not.. Something in the likes, I'm not good to phrase questions.

Ah euh well thank you. But I still get a feeling he could still do what he want with this info no?

Once you start making rules for your world, especially defining how your god works, the only way around it is retconning. Remember, the Idea of Evil talked about manipulating generations of bloodlines to create the pathway for Griffith, and affecting the dark side of human subconscious mind to shape history. These are things that are consistent with how the series works, but Miura has eliminated the specifics of how these things have occurred by removing Episode 83.

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I don't remember exactly what the q&a was exactly (and that's alright since it's non-canon and I was just curious.)

Well, you're missing out if you aren't familiar with it, since it still holds up to scrutiny. You can always find the text for Episode 83 here: http://skullknight.net/idea

Once you start making rules for your world, especially defining how your god works, the only way around it is retconning. Remember, the Idea of Evil talked about manipulating generations of bloodlines to create the pathway for Griffith, and affecting the dark side of human subconscious mind to shape history. These are things that are consistent with how the series works, but Miura has eliminated the specifics of how these things have occurred by removing Episode 83.

Well, you're missing out if you aren't familiar with it, since it still holds up to scrutiny. You can always find the text for Episode 83 here: http://skullknight.net/idea

You've mentioned an interest in continuing Gigantomakhia one day, and I believe I remember reading that you were interested in telling a story about the real historical figure Dracula was based off, do you still want to do that? Something totally new?

You sometimes have moved a page, panel, or in some rare cases a whole episode's order in the story. As well as adding panels and pages, and removing them sometimes too. Some of us are interested to know if you have a record of all the changes you've officially made and if you would release it?

In Berserk, you have portrayed disturbing moments by holding back details such as not showing Griffith's exposed face after his prolonged torture. You have also portrayed disturbing moments with overwhelming detail, Casca's rape as an example. How do you know when to inundate the audience with detail and when to hold back?

In Berserk, you have portrayed disturbing moments by holding back details such as not showing Griffith's exposed after his prolonged torture. You have also portrayed disturbing moments with overwhelming detail, Casca's rape as an example. How do you know when to inundate the audience with detail and when to hold back?

I like that question, well spoken. I can't imagine Miura gets one like this too often.

In Berserk, you have portrayed disturbing moments by holding back details such as not showing Griffith's exposed after his prolonged torture. You have also portrayed disturbing moments with overwhelming detail, Casca's rape as an example. How do you know when to inundate the audience with detail and when to hold back?

Not a bad idea, but there really aren't that many examples of what you describe. Really, there's just the one. And I imagine he would reply something akin to: Instinct. It's also getting close to asking a comedian to explain his jokes.

I know it seems like I'm being critical, but I do appreciate the variety of questions. I'm just trying to find questions that will encourage him to reply should we ever write him a second letter. Whenever I formulate a question, I always try to consider his range of replies. Does the question imply criticism of his work? Would the answer require him to give away parts of the story? Or ask him to explain his storytelling method to a degree that would be uncomfortable? On top of that, there's the whole "always be super polite when asking questions of Japanese people" thing to consider.

Here are a few questions of my own, to which I invite the same amount of criticism as I have offered

How long have you had the idea for the design of Griffith's capital city?

In the past, you have visited other countries for research. Did you visit anywhere outside Japan during your 1-year break from Berserk in 2013?

Which minor characters in Berserk do you enjoy the most, and think fans should appreciate more?

Your artistic style has become increasingly more detailed over the years. It must be quite a burden to keep that quality so consistent. Is there a personal conviction that keeps you from employing a more economical approach to the art?

What is the meaning of the furigana "ジャンアーニン" in the episode title for Episode 243: Superior Being?

You sometimes have moved a page, panel, or in some rare cases a whole episode's order in the story. As well as adding panels and pages, and removing them sometimes too. Some of us are interested to know if you have a record of all the changes you've officially made and if you would release it?

Apart from that 1 episode, I had no idea pages/ panels were moved ... this's fascinating to learn.

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At the end of time, a moment will come when just one man remains. Then the moment will pass. Man will be gone. There will be nothing to show that we were ever here... but stardust.